The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
84 results
Saint Benedict destroying Idols
Oil on canvas. Before 1662
Rizi, Juan Andrés
Saint Benedict destroying Idols
Oil on canvas. Before 1662
Rizi, Juan Andrés

Cuadro de la serie con escenas de la vida de san Benito que adornaban el claustro del monasterio de San Martín. Felipe de Castro (ca. 1750/1764) se limitó a señalar que "las pinturas del claustro son de mano de Fray Juan Ricci" y Ponz (V, 1776, 5.a división, párrafo 15) que "las [pinturas] de la Vida del mismo Santo en el claustro son de Fr. Juan Rizi, Religioso de la Orden; y de su misma mano son

Saint Jerome
Oil on panel. XVI century
Anonymous
Saint Jerome
Oil on panel. XVI century
Anonymous

The Confraternity of Death recovering the Body of a murdered Man from the Roman Countryside (sketch)
Oil on canvas. Ca. 1863
Bertrand, Jean-Baptiste "james"
The Confraternity of Death recovering the Body of a murdered Man from the Roman Countryside (sketch)
Oil on canvas. Ca. 1863
Bertrand, Jean-Baptiste "james"

This is a preparatory sketch for the canvas preserved at the Musée des Beaux-Arts in Lyon (Les Frères de la mort dans la campagne de Rome, A 2975), which was presented by the artist at the Paris Salon of 1863. It shows the activity of the lay confraternity of San Giovanni Decollato, responsible in Italy for the bodies of the poor and the condemned.

Saint Francis in Prayer
Oil on canvas. 1659
Zurbarán, Francisco de
Saint Francis in Prayer
Oil on canvas. 1659
Zurbarán, Francisco de

We can identify Saint Francis by his habit, his rope belt and the wound on his right hand. He raises his gaze towards heaven and holds a skull in his left hand. A crucifix rests on a book in front of him in this scene that presents him deep in prayer as a direct result of his meditations.Painted in Madrid in 1659 during the final years of Zurbarán’s life, Saint Francis at Prayer is a paradi

Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)
Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)

María Magdalena es una de las santas más célebres del cristianismo, por haber conocido a Cristo y porque representó el paradigma de la mujer arrepentida. En su etapa de vida mundana suele caracterizarse con ricas vestiduras. Cuando se muestra como mujer arrepentida -como en esta pintura de Guercino- aparece semidesnuda y con largos cabellos, adorando el crucifijo. Otros dos de sus atributos más re

Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim
Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim

Patinir shows St Jerome sitting inside the wooden shack that leans against the rocks in the foreground. As with the Landscape with the Martyrdom of St Catherine in Vienna (Kunsthistorisches Museum), the painter here raises the line of the horizon, leading to an increase in the space devoted to the landscape and the consequent reduction of the sky (although this has been cut down still further, it

Penitent Magdalen
Oil on canvas. 1579
Carvajal, Luis de
Penitent Magdalen
Oil on canvas. 1579
Carvajal, Luis de

Luis de Carvajal was a Toledan painter who trained in Rome and subsequently at El Escorial, a flourishing centre for Spanish painting in the first half of the seventeenth century. The manner in which the penitent Magdalen’s figure is bathed in light emphasises her sensual body. The visual potency of the Italian Renaissance formulas on which this work is based ensured their survival during the Baro

The Penintent Saint Jerome
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Penintent Saint Jerome
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

Jerome meditates before a crucifix in the solitude of his retreat. The numerous objects depicted around him refer to different aspects of his life. The books, papers and writing equipment allude to his celebrated intellectual activities, the skull to his acts of penitence, and the red hat to his status as a cardinal.

Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van
Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van

The saint is depicted leaning on a boulder, in a state of mystical ecstasy following his meditation on death. That meditation is symbolized by the skull, cross and book. He is comforted by a musician angel, as is told in the book The Little Flowers of Saint Francis (Part II, second consideration). This work is from the artist´s second period in Antwerp, where he lived from 1627 to 1632 before leav

Landscape with Saint Onuphrius
Oil on canvas. Ca. 1638
Claude (Lorrain, Byname Of Claude Gellée)
Landscape with Saint Onuphrius
Oil on canvas. Ca. 1638
Claude (Lorrain, Byname Of Claude Gellée)

Saint Onuphrius, a hermit saint of the fourth century AD, retired to the Egyptian desert in search of solitude. As with other works for the decoration of the Buen Retiro Palace in Madrid, this landscape was created by two artists: Claude himself, who painted the landscape, and a second, unknown artist who painted the hermit.

Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo
Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo

Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (Museo Nazionale di Castel Sant`Angelo, Rome, c.1509), to his most personal interpretations from the 1540s. Lotto`s Libro dei Conti (Book of Accounts) lists four paintings between 1544 and 1546 with thi

The Miraculous Spring at Saint Bruno’s Tomb
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Miraculous Spring at Saint Bruno’s Tomb
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous
The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous

Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or by its entrance. His red robe and hat identify him as a cardinal while the book refers to his role as a Father of the Church and the translator of the Bible into Latin. Behind him is the lion who accom

Saint Francis of Assisi
Oil on panel. 1515 - 1525
Yáñez de la Almedina, Fernando
Saint Francis of Assisi
Oil on panel. 1515 - 1525
Yáñez de la Almedina, Fernando

This panel and its pair Saint Onuphrius (P07947), must originally have formed part of a more complex structure probably produced during the artist’s last years in Valencia or his first years in Cuenca. This dating is suggested by the looser, more painterly technique, and by the use of a lighter, more diluted pigment which emphasizes the fullness of the forms. The handling of space is characteristi

The Virgin Mary, the Infant Christ and the Holy Spirit with Angels in the background
Oil on canvas. 1856
Esquivel, Antonio María
The Virgin Mary, the Infant Christ and the Holy Spirit with Angels in the background
Oil on canvas. 1856
Esquivel, Antonio María

Antonio María Esquivel´s work provides, undoubtedly, the best example of the unique symbiosis achieved in Spanish religious painting from the romantic period, combining the powerful tradition of Andalusian Baroque with the stylistic refinement of orthodox classicism defended by academic purists. Esquivel spent much of his career producing a noteworthy number of religious paintings, both for

Garland of Flowers with Saint Teresa of Jesus
Oil on canvas. Ca. 1676
Pérez, Bartolomé
Garland of Flowers with Saint Teresa of Jesus
Oil on canvas. Ca. 1676
Pérez, Bartolomé

Obra perteneciente a una serie de seis cuadros de la que sólo se conservan cinco (P1056, P1057, P5095, P5099 y P5250). Cruzada Villaamil (1865) registró los tres que incorporó a su catálogo (P1056, P5250 y P5099) entre los cuadros anónimos de la escuela valenciana, aunque con una atribución entre interrogantes a Bartolomé Pérez. En el catálogo de Madrazo del Museo del Prado de 1878, primero en el

Saint Jerome
Oil on canvas. 1635
Castillo Saavedra, Antonio del
Saint Jerome
Oil on canvas. 1635
Castillo Saavedra, Antonio del

Penitents in the Lower Basilica of Assisi
Oil on canvas mounted on panel. 1874
Jiménez Aranda, José
Penitents in the Lower Basilica of Assisi
Oil on canvas mounted on panel. 1874
Jiménez Aranda, José

Jiménez Aranda sets this scene of believers paying penance inside the well-known medieval basilica of Assisi, in Italy. Some of them carry large crosses and drag chains, while others pray at an altar, or chat with other characters dressed in eighteenth-century clothing. The subject clearly alludes to Goya´s abundant paintings of religious festivities. Nevertheless, the setting in an Italian

Up